Books: Ramona Fradon on The Dinosaur That Got Tired of Being Extinct

Revival

While modern readers
might not recognize her name immediately, Ramona Fradon played a significant
part in laying the foundations of modern comics.

That’s because she was one
of the artists that DC Comics hired to draw the adventures of a number of their
characters in the early stages of the so-called Silver Age of comics, an era that
saw the revival of the superhero in the earliest days of the 60s. But her
involvement with that company—and Aquaman, the character she’s most identified
with—predates even that heady event.

In fact, Fradon charted
the King of the Seas’ adventures during the 50s, co-creating his sidekick, Aqualad,
and forever linking her name with those characters in the hearts of historians,
fans and critics alike. She also made significant contributions to tales
featuring some of DC’s newest and most important characters, including
Metamorpho, The Element Man, Plastic Man, and the Super Friends, among others. Then,
during the 80s, she delineated the trials and triumphs of Brenda Starr seven days a week.

Eventually, she retired
from drawing full time, leaving the field to a new generation of creators. And
while she’s known to do a few sketches for her fans while appearing at one
convention or another, she’s largely left the storytelling to others.

Until now, that is

That’s because The Dinosaur That Got Tired of Being Extinct,
a full color picture book she wrote and drew, is due for wide release in the near future.
It’s a project that highlights a little-seen side of her work, one which
promises to introduce her lovely line work and joyful outlook to a whole new
generation, even as it provides long-time fans with real reason to celebrate.

For those who haven’t seen or heard about it
yet, how would you describe The Dinosaur
That Got Tired of Being Extinct?

It's a
comical account of an innocent young dinosaur who comes to life in a natural
history museum and sets out to find playmates to romp with and something to
eat. Of course he creates a gigantic mess and becomes disillusioned to find
that nothing is real or the way he remembered the world. It has a warm and
happy ending, though.

Where did
this story come from, and what kind of changes did it go through on its journey
from conception to completion?

I started
to write this years ago when I had taken a leave from comics to raise my
daughter. I did most of the drawings back then but recently made a lot of
changes in the text. The pictures are done in loose line and wash and are quite
funny.

Well, why do it now?

I never
know why I do things at certain times. I had always meant to finish the book,
but I guess it wasn't ready to be finished until now.

Why
self-publish the book? What are some of the reasons you chose to go that route,
rather than place it with an established publisher?

I decided
to self publish because I didn't want to deal with editors who would change
things. I love the book just the way it is.

You’re
well known for your past comic work on Aquaman and other iconic characters,
which led me to wonder if that kind of experience, doing all that sequential
work, helped when it came time to do the book, or if it proved to be a bit of a
hindrance?

I suppose
having drawn sequential comic book art helped me construct a narrative, but the
sensibility was quite different. This book is comical but it is also touching
and tender.

Do you
have to use different mental muscles when creating a single image—be it a
splash page, cover or a typical one-image page for a kid’s book—than those you
get to flex while creating a typical storytelling page for a comic? Or is it
all the same to you at this point?

As far as
flexing different mental muscles, the difference was that I was illustrating my
own ideas, and that is much easier to do. The drawings came easily and
naturally to me, especially since I have always enjoyed doing loose, funny
drawings more than super hero stuff.

What was your creative process on this one? Did
you start with a notion, and then just started drawing and writing according to
the whims of your muse, or was it a bit more structured than that?

I started
with the idea and then let the dinosaur's inclinations write the story. I also
was living with a puppy and a kitten and had a three year old daughter, and
their innocence and playfulness all influenced the dinosaur's personality.

Does
knowing that an image or story will be done in black and white, or in full
color, alter the way you approach the page, or even how you draw it?

No.

How about
intended audience? Have you essentially always done your work for the same
expected audience or imaginary reader, or do you vary your approach and choice
of shots accordingly?

I think I'm
the audience I want to communicate with. I want the drawing or writing to
strike me as authentic and to have an impact. I guess after that it will take
care of itself.

Well, is The Dinosaur That Got Tired of Being Extinct
a sign of things to come? Will we be seeing the further adventures of this
lovable dino, or perhaps more storybooks that feature new characters?

I don't
have any plans to do another one, but you never know.

Well, how can folks order a copy for themselves?

The book will be on Amazon in March, or you
can contact me at Lizard Library, PO Box 61, West Shokan, NY 12494.

And what’s it cost?

It will be
$16.00.

I know that a lot of artists welcome the
occasional art commission for sketches of their favorite characters, or even
cover re-creations. Do you take commissions, and if so, how can folks get a
hold of you to set that up?

Yes, I do
commissions. You can contact me at Lizard Library or through Scott Kress at
Catskill Comics.

(As this
article was going to press, Dynamic Forces announced that it would be
publishing the first ever Art of Ramona
Fradon collection, giving fans and aficionados of good art and comics real
reason to celebrate. BB)

[Note: Aquaman and Aqualad, Batman and Robin, Superman and Superboy, The Shining Knight and Plastic Man, and all associated characters are copyright of DC Entertainment. Brenda Starr is the property of the estate of Dale Messick and/or the Chicago Tribune Syndicate. All other characters are the property of Ramona Fradon or their respective creators and/or owners.]

A veteran journalist who has covered the comics medium since 1998, Bill Baker is also the author of Icons: The DC Comics and WildStorm Art of Jim Lee and seven previous books featuring his extended interviews with Alan Moore, Neil Gaiman and other notable creators. You can learn more about Bill’s work…